Jan Frans van Geel, 1756-1830

Private collection, Belgium.

Overall the condition of this terracotta group is very good with minor surface dirt, particularly in the crevices, consistent with age and handling. Some of the fingers and toes may have been slightly retouched. There are stable firing hairline fissure visible at several places consistent with the material. There are minor chips and dents visible on the high points and along the edges of the terrace consistent with age and handling. A tear-up mark visible to the Satyr's proper right forearm where an element appears to be missing ( probably a ribbon or a drapery of the Nymph's dress).
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Scholar of Pieter Valckx, Van Geel was professor at the Academies of Mechelen and Antwerp, where he had Willem Geefs as a pupil. He carried out several works for churches in Antwerp and Mechelen, but also secular subjects including the terracotta of Time Removing Youth, signed and dated 1812 (Royal Museums of Fine Arts, Brussels, inv n° 1534). The composition of our group and that of Brussels are very similar, suggesting that they are by the same hand. The terracotta's deep orangish red, the handling of the ample and muscular bodies, the dancing movement of the figures, and the satyr's sarcastic smile - recall the Antwerp Baroque of Rubens or Jordaens - are all denominators of Flemish sculpture and caracteristic of Van Geel's works.

Related literature
D. Allard (dir.), Terres cuites des XVIIe et XVIIIe siècles. La collection van Herck, Anvers, 2000, pp. 121-129.